GENERAL DESCRIPTION
One of the most popular types of Etruscan jewelry is the fibula, a garment fastener consisting of a straight pin coiled to form a spring at one end, a catchplate that secures the pin at the other end, and a decorative element that holds pin and catchplate together. This fibula is a variant of the leech-shaped type, with a very short and high-arched bow and a long catchplate, or foot. Plain wire rings reinforce the joins between bow and pin, and between bow and catchplate. The hollow bow and the sheath-like foot feature the same applied decoration as on 1991.75.2—highly stylized heart and palmette shapes rendered in double lines of granulation.
Adapted from
Barbara Deppert-Lippitz, Ancient Gold Jewelry at the Dallas Museum of Art (Dallas: Dallas Museum of Art in association with the University of Washington Press, 1996), 34; 122.
NOTES
READ
- updated provenance and geo x ref
- added publication as a text entry in TMS
- cut: The bow is completely closed. A double granulated line running along the top divides the bow into two parts. Both halves have the same decorative pattern. The tightly closed seam on the underside of the bow is covered by a granulated double line. Applied to both sides, without regard for the granulated decoration, are separately made projections. Each consists of a four-petaled flower made of sheet gold. Lines of granules outline the petals, which curl under at their ends. A pellet is attached to the center of the flower. Both the top edge of the catch plate, and its bottom are decorated with a double zigzag line of granules, while a straight granulated double line forms a border between front and top. Traces of glue remain from restorations.
- The particularly fine workmanship of this fibula and the remarkably equal size of the granules in its ornamentation are worthy of notice. It is possible that an extension was originally attached at the end of the foot.
Catalogue essays
Artist/designers
Cultures
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Process/materials
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RELATED OBJECTS
PROVENANCE
Until 1991: probably Collection of Dr. Athos Moretti, Switzerland (presented by Robert Haber, New York) [1]
From 1991: Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.
[1] based on existing provenance entry in TMS
AUDIO ASSETS
VIDEO ASSETS
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WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
- Jewelry was far more than merely ornament to the Etruscans; it was often close to being a magic charm or amulet and implied the protection of the gods.
TEACHING IDEAS
RULES
Apply to objects where number equals 1991.75.4
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General Description
One of the most popular types of Etruscan jewelry is the fibula, a garment fastener consisting of a straight pin coiled to form a spring at one end, a catchplate that secures the pin at the other end, and a decorative element that holds pin and catchplate together. This fibula is a variant of the leech-shaped type, with a very short and high-arched bow and a long catchplate, or foot. Plain wire rings reinforce the joins between bow and pin, and between bow and catchplate. The hollow bow and the sheath-like foot feature the same applied decoration as on 1991.75.2—highly stylized heart and palmette shapes rendered in double lines of granulation.
Adapted from
Barbara Deppert-Lippitz, Ancient Gold Jewelry at the Dallas Museum of Art (Dallas: Dallas Museum of Art in association with the University of Washington Press, 1996), 34; 122.
Fun Facts
- Jewelry was far more than merely ornament to the Etruscans; it was often close to being a magic charm or amulet and implied the protection of the gods.
Archival Resources
Web Resources
Notes
READ
- updated provenance and geo x ref
- added publication as a text entry in TMS
- cut: The bow is completely closed. A double granulated line running along the top divides the bow into two parts. Both halves have the same decorative pattern. The tightly closed seam on the underside of the bow is covered by a granulated double line. Applied to both sides, without regard for the granulated decoration, are separately made projections. Each consists of a four-petaled flower made of sheet gold. Lines of granules outline the petals, which curl under at their ends. A pellet is attached to the center of the flower. Both the top edge of the catch plate, and its bottom are decorated with a double zigzag line of granules, while a straight granulated double line forms a border between front and top. Traces of glue remain from restorations.
- The particularly fine workmanship of this fibula and the remarkably equal size of the granules in its ornamentation are worthy of notice. It is possible that an extension was originally attached at the end of the foot.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1991: probably Collection of Dr. Athos Moretti, Switzerland (presented by Robert Haber, New York) [1]
From 1991: Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.
[1] based on existing provenance entry in TMS
AUDIO ASSETS
VIDEO ASSETS
rules
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number
Equals
1991.75.4
source file
object_notes_2_b-0115.xml.nores